Platonic shadows and lights in Luis Cernuda's poetry: their didactic use

The aim of this article is to show a wide range of lights and shadows in Luis Cernuda's poetry as images which have a specific reference -in spite of not being mentioned-, that is, the Platonic image of the cave. It is thanks to the images that the poet shows us his ideal world, in which shadows symbolize the beautiful, perfect and everlasting world in which Luis Cenuda needs to believe. Once more, it deals with that well-known tension between reality and desire which defines the essence of his poetry.

The european higher education area at work: Lights and shadows defining continuous assessment

The aim of this paper is to analyse how learning assessment, particularly the Continuous Assessment system, has been defined in the Public Administration and Management Diploma Course of the University of Barcelona (Spain). This course was a pioneering experiment at this university in implementing the guidelines of the European Higher Education Area (EHEA), and thus represents a good case study for verifying whether one of the cornerstones of the EHEA has been accomplished with success. Using data obtained from the Teaching Plans elaborated by the lecturers of each subject, we are able to establish that the CA system has been progressively accepted to such an extent that it is now the assessment formula used by practically all of the lecturers, conforming in this way to the protocols laid down by the Faculty of Law in which this diploma course is taught. Nevertheless, we find that high dispersion exists in how Continuous Assessment is actually defined. Indeed, it seems that there is no unified view of how Continuous Assessment should be performed. This dispersion, however, seems to diminish over time and raises some questions about the advisability of agreement on criteria, considering the potential which CA has as a pedagogical tool. Moreover, we find that the Unique Assessment system, which students may also apply for, is an option chosen only by a minority, with lecturers usually defining it as merely a theoretical and/or practical test, of little innovation in relation to traditional tests.

The european higher education area at work: Lights and shadows defining continuous assessment

The aim of this paper is to analyse how learning assessment, particularly the Continuous Assessment system, has been defined in the Public Administration and Management Diploma Course of the University of Barcelona (Spain). This course was a pioneering experiment at this university in implementing the guidelines of the European Higher Education Area (EHEA), and thus represents a good case study for verifying whether one of the cornerstones of the EHEA has been accomplished with success. Using data obtained from the Teaching Plans elaborated by the lecturers of each subject, we are able to establish that the CA system has been progressively accepted to such an extent that it is now the assessment formula used by practically all of the lecturers, conforming in this way to the protocols laid down by the Faculty of Law in which this diploma course is taught. Nevertheless, we find that high dispersion exists in how Continuous Assessment is actually defined. Indeed, it seems that there is no unified view of how Continuous Assessment should be performed. This dispersion, however, seems to diminish over time and raises some questions about the advisability of agreement on criteria, considering the potential which CA has as a pedagogical tool. Moreover, we find that the Unique Assessment system, which students may also apply for, is an option chosen only by a minority, with lecturers usually defining it as merely a theoretical and/or practical test, of little innovation in relation to traditional tests.

The european higher education area at work: Lights and shadows defining continuous assessment

The aim of this paper is to analyse how learning assessment, particularly the Continuous Assessment system, has been defined in the Public Administration and Management Diploma Course of the University of Barcelona (Spain). This course was a pioneering experiment at this university in implementing the guidelines of the European Higher Education Area (EHEA), and thus represents a good case study for verifying whether one of the cornerstones of the EHEA has been accomplished with success. Using data obtained from the Teaching Plans elaborated by the lecturers of each subject, we are able to establish that the CA system has been progressively accepted to such an extent that it is now the assessment formula used by practically all of the lecturers, conforming in this way to the protocols laid down by the Faculty of Law in which this diploma course is taught. Nevertheless, we find that high dispersion exists in how Continuous Assessment is actually defined. Indeed, it seems that there is no unified view of how Continuous Assessment should be performed. This dispersion, however, seems to diminish over time and raises some questions about the advisability of agreement on criteria, considering the potential which CA has as a pedagogical tool. Moreover, we find that the Unique Assessment system, which students may also apply for, is an option chosen only by a minority, with lecturers usually defining it as merely a theoretical and/or practical test, of little innovation in relation to traditional tests.

Els obrers industrials de Mataró 1870-1900 : una aproximació al seu entorn social, a partir de la premsa local de l'època

Aproximació a la realitat, influències i expectatives dels obrers de la ciutat de Mataró, durant el darrer terç del segle XIX, basada principalment en la lectura de la premsa local de l'època. Amb la intenció d'il·lustrar les llums i ombres de la industrialització i del liberalisme econòmic en una fase incipient, a través d'un col·lectiu social representatiu.

On the way to solve lighting problems in underwater imaging

A major obstacle to processing images of the ocean floor comes from the absorption and scattering effects of the light in the aquatic environment. Due to the absorption of the natural light, underwater vehicles often require artificial light sources attached to them to provide the adequate illumination. Unfortunately, these flashlights tend to illuminate the scene in a nonuniform fashion, and, as the vehicle moves, induce shadows in the scene. For this reason, the first step towards application of standard computer vision techniques to underwater imaging requires dealing first with these lighting problems. This paper analyses and compares existing methodologies to deal with low-contrast, nonuniform illumination in underwater image sequences. The reviewed techniques include: (i) study of the illumination-reflectance model, (ii) local histogram equalization, (iii) homomorphic filtering, and, (iv) subtraction of the illumination field. Several experiments on real data have been conducted to compare the different approaches

La caverna de Josep Palau i Fabre (1952-1969): teatre versus al·legoria filosòfica per a representar i impedir el final tràgic i fosc del lluminós art de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.

La caverna de Josep Palau i Fabre (1952-1969): teatro versus alegoría filosófica para representar e impedir el final trágico y sombrío del luminoso arte de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.

The cave (La caverna -1952-1969) by Josep Palau i Fabre: theatre versus philosophical allegory in order both to perform and stop the tragic and dark end of the bright art of thinking

What is the use of representing in performance the image of the cave from book VII of Plato’s Republic? Josep Palau i Fabre considers that in Plato’s dialogues the speakers are mere instruments at the service of his dialectical purpose. The aim of this article is to show how, by turning the myth into a tragedy and relying on Heraclitus’s conflict or war of opposites, the playwright succeeds in favouring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre’s La Caverna, the tragic hero, the released prisoner transformed by the light of Reality and finally killed by his “cavemates” –after having been imprisoned again and having tried to rescue them from their ignorance or shadows– still leaves them his powerful experience of the agonistikós thought, which might bear fruit in their life to come.

Visual realism enhances realistic response in an immersive virtual environment - Part2

Does realistic lighting in an immersive virtual reality application enhance presence, where participants feel that they are in the scene and behave correspondingly? Our previous study indicated that presence is more likely with real-time ray tracing compared with ray casting, but we could not separate the effects of overall quality of illumination from the dynamic effects of real-time shadows and reflections. Here we describe an experiment where 20 people experienced a scene rendered with global or local illumination. However, in both conditions there were dynamically changing shadows and reflections. We found that the quality of illumination did not impact presence, so that the earlier result must have been due to dynamic shadows and reflections. However, global illumination resulted in greater plausibility - participants were more likely to respond as if the virtual events were real. We conclude that global illumination does impact the responses of participants and is worth the effort.